When a beautiful young woman disappears mysteriously in this country, leaving behind a too-calm husband who, in the 30 seconds of video the 24-hour cable news networks replay hour after hour, doesn’t appear to be concerned enough, the court of public opinion—and the shrieking harpies on said cable news networks—has the husband convicted of murder before the first commercial break.

“Gone Girl,” the latest film from director David Fincher, based on the smash-hit novel by Gillian Flynn (who also wrote the screenplay), feels ripped from the pages of Us Weekly and the programming of HLN. Laid-back, jock-ish Nick Dunne (Ben Affleck) returns home from his bar to find his wife Amy (Rosamund Pike) is missing, the house amiss with the signs of a struggle. A diligent detective (Kim Dickens) and her skeptical partner (Patrick Fugit) begin investigating, noticing the pieces of Nick’s story don’t add up, with expensive credit card splurges in his name and the damning testimony of a neighbor who claims Amy told her of Nick’s physical and verbal abuse.

Nick also comes across aloof and cold as the national media spotlight intensifies on him, committing huge PR gaffes like smiling at a press conference about his missing wife and posing for a selfie with an over-eager volunteer, the blood in the water attracting a Nancy Grace-like shark (Missi Pyle) who practically calls for Nick’s execution every night on national TV. But is Nick innocent or guilty? Was Amy the abused wife her diary describes, or the anti-social trust fund shut-in bitter about moving from New York City to Missouri? Where exactly does the truth lie?

While both Affleck and Fincher have referred to “Gone Girl” as a satire in interviews leading up to the film’s release, this description misses the mark. Sure, the depiction of the media in the movie is ridiculous, but nothing comes close to biting satire or even the hoisting-with-their-own-petard model that both “The Daily Show” and “Last Week Tonight” traffic in. Sure, it’s stupid, but all Fincher and Flynn really did was change the names of the anchors. Toothless satire aside, “Gone Girl” is a fantastic face-value thriller, with enough twists and turns to remain completely unpredictable. Affleck and Pike are great in roles that call for both of them to be honest with each other while being dishonest to the world, and Tyler Perry—of all people–turns in a funny, assured performance as a high-profile celebrity lawyer with more nuance than 10 Madeas smashed together.

Maybe Fincher will be watching the reaction audiences at large have to the film, silently judging us all as philistines who fail to notice the scathing criticism he thinks he’s delivering to the already dead horse of the mainstream media’s credibility. Good thing the movie is extremely enjoyable anyway.